mf^.T] 


UC-NRLF 


JUL  19  1918 


LANDSCAPE  SKETCHING 


REPUBLICATION  BY  THE  ARMY  WAR  COLIEGH 

OF  PART  OF  A  PAMPHLET  ORIGLNALLY  ISSUED 

BY  THE  SCHOOL  OF  MUSKETRY 


AUGUST,  1917 


WASHINGTON 

GOVERNMENT  PRINTING  OFHCl 

191? 


WAR  DEPARTMENT 

Document  No.  64d 

OmcE  OF  The  Adjutant  Geneeal 


WAR  DEPARTMENT, 

Washington,  August  8,  1917. 
The  following  pamphlet  on  Landscape  Sketching  is  published 
for  the  information  of  all  concerned. 
[062.1,  A.  G.  O.] 
By  oedeb  of  the  Secbetaby  of  Wab  : 

TASKER  H.  BLISS, 
Major  Generalf  Acting  Chief  of  Staff. 
Official  : 

H.  P.  McCain, 

The  Adjutant  General. 

S 


377777 


LANDSCAPE  SKETCHING. 

THE  CONTOURED  MAP  IS  INDISPENSABLE  IN 
MANEUVERING  TROOPS. 

The  panoramic  or  landscape  sketch  is  the  means  par  ex- 
cellence for  target  designation.  It  is  also  of  great  military 
value  in  illustrating  a  reconnaissance,  making  outpost  sketches 
and  range  cards.  Bridges,  fords,  forks  in  the  road,  and  other 
features  shown  on  topographical  maps  may  be  quickly  identified 
by  using  marginal  sketches. 

30.  Photography  has  been  tested  with  elaborate  devices  as  a 
substitute  for  landscape  sketching.  The  results  are  fairly  satis- 
factory when  taken  under  propitious  conditions  of  light  and 
atmospheric  conditions.  But  the  camera  can  not  select  details. 
Useless  features  in  the  immediate  foreground  are  emphasized, 
while  essential  details  more  distant  are  scarcely  perceptible. 
Views  of  the  same  terrain  taken  from  different  angles  are 
seldom  possible  in  battle  reconnaissance. 

The  delay  caused  by  combining  and  analyzing  the  results  will 
usually  render  the  photographs  of  little  service  in  that  particu- 
lar engagement.  For  the  quick  work  and  immediate  results 
demanded  by  battle  reconnaissance  there  seems  very  limited 
use  for  photography  and  the  maximum  demand  for  rapid 
free-hand  sketching. 

A  landscape  sketch  shows  the  terrain  graphically  and  re- 
quires no  study  or  training  to  comprehend.  The  horizon  is 
always  of  military  importance.  This  is  always  shown,  as  well 
as  intervening  crests,  woods,  houses,  fences,  etc. 

A  great  French  authority  states :  "  It  is  as  necessary  for  an 
officer  to  know  how  to  draw  as  to  know  how  to  write,  for  often 
with  two  lines  he  can  tell  more  and  tell  it  better  than  with 
two  pages  of  writing,  inasmuch  as  a  few  strokes  of  the  pencil 
are  made  more  quickly  and  easily  than  a  report  is  composed, 
and  secure  and  classify  details  for  a  report  much  better  than 
do  the  memories  which  we  preserve  from  a  long  reconnaissance." 

Drawing  is  the  educator  of  the  eye,  par  excellence. — It  teaches 
one  to  judge  ground  rapidly  by  developing  that  instinct  which 

5 


e  LANDSCAPE  SKETCHING. 

gives  to  the  sight  a  power,  and  certainly  not  acquired  otherwise 
than  by  the  habit  of  studying  the  landscape  in  detail  and  in  its 
various  aspects.  It  engenders  an  accuracy  of  observation  which 
mechanically  notes  the  form  and  aspect  of  things,  even  though 
the  mind  be  occupied  with  other  matters. 

The  habit  of  sketching  gives  to  the  memory  a  faculty  that  might 
be  called  intuitive,  that  of  grasping,  in  spite  of  one's  self  and  in 
spite  of  mental  distraction,  the  form  and  color  of  objects  seen. 

The  ability  to  estimate  distances  and  see  military  features  of 
the  terrain  is  admittedly  an  indispensable  part  of  military  train- 
ing. There  is  no  surer  or  quicker  method  of  educating  the  eye 
for  ground  and  distances  than  actual  practice  in  sketching. 

This  work,  done  from  the  terrain  in  the  perspective,  has  a 
terror  for  most  officers  and  men.  It  seems  customary  to  state, 
"  I  am  not  an  artist,"  and  give  up  without  an  honest  attempt  to 
attain  proficiency. 

The  making  of  route  and  position  sketches  is  required  as  a 
matter  of  routine  knowledge  throughout  the  Army.  Many  an 
officer  and  enlisted  man  points  with  pride  at  such  sketches  he 
now  makes  with  little  effort,  where  in  the  beginning  he  viewed 
with  alarm  the  possibility  of  ever  being  called  upon  to  map  a 
road  or  outpost  position. 

When  attacked  in  earnest,  landscape  sketching  will  be  found 
to  be  no  more  difficult  than  topographical  mapping  and  far 
easier  to  many. 

An  item  that  may  appeal  to  some  is  that  the  landscape  sketch 
is  made  without  the  sketcher  moving  from  one  spot,  and  is 
usually  executed  while  seated. 

Military  positions  are  located  on  the  sketch  by  the  angular 
deflection,  measured  in  mils,  from  a  reference  point.  The  range, 
determined  by  measurement  or  estimation,  and  the  deflection 
together  locate  the  target,  etc.  The  deflection  of  each  end  of 
troops  in  line  is  sho^Ti.  thus  furnishing  the  necessary  data  for 
determining  the  hostile  strength. 

As  the  reference  point  is  chosen  for  its  clear  definition,  it 
will  seldom  be  exactly  in  the  hostile  position.  The  peak  may. 
be  20  miles  beyond,  the  house  or  tree  chosen  may  be  nearer  or 
more  distant  than  the  lines  of  enemy  troops. 

This  position  of  the  reference  point  with  reference  to  the 
place  from  which  the  sketch  was  made  and  the  deflection  of 
targets  was  determined  must  be  considered  iu  advancing  to  a 
position  illustrated  by  a  landscape  sketch. 


LANDSCAPE  SKETCHING.  7 

The  deflection  in  mils  and  the  lateral  arrangement  of  features 
is  accurate  only  for  the  position  from  which  the  sketch  was 
made.  As  soon  as  the  observer  moves  from  that  position  changes 
occur  in  the  deflection  due  to  parallax.  This  fact  must  be  con- 
sidered in  apportioning  the  target  between  companies,  platoons, 
etc. 

The  paper  used  by  a  patrol  will  usually  be  a  notebook  or  the 
back  of  a  field  message  blank.  The  length  of  the  sketch  will 
seldom  exceed  8  inches,  which  includes  a  visual  angle  of  about 
30*.  A  pad  especially  prepared  for  sketching  is  furnished  for 
this  work  at  the  School  of  Musketry. 

When  landscape  sketches  are  made  on  the  back  of  the  field 
message  blank  (Signal  Corps,  217,  A),  held  20  inches  from  the 
eye,  each  inch  of  the  rule  printed  at  the  top  of  the  sheet  sub- 
tends 50  mils ;  at  10  inches,  100  mils ;  at  15  inches  IJ  inches  on 
the  paper  subtends  100  mils. 

TARGET  DESIGNATION. 

31.  The  landscape  sketch  presents  graphically  the  location  of 
the  target  and  other  data  necessary  to  fire  direction  and  control. 

The  landscape  sketch  portrays  graphically  a  sector  of  the 
terrain  from  the  position  of  the  observer  to  the  horizon,  includ- 
ing the  targets.  The  reference  point,  an  easily  recognized  fea- 
ture of  the  terrain,  is  identified  on  the  sketch  by  an  arrow  head. 
Targets  are  indicated  by  use  of  conventional  signs  for  Infantry, 
Cavalry,  Artillery,  and  machine  guns.  The  deflection  of  the 
target  from  the  reference  point  is  given  in  mils  and  the  range 
in  yards,  both  entered  along  the  upper  margin  of  the  paper 
along  with  any  explanatory  data  advisable.  An  error  in  de- 
flection should  never  exceed  10  mils.  The  manner  in  which  the 
ranges  are  determined — by  measurement  or  estimation — is  noted 
on  the  sketch. 

The  deflections  locate  the  flanks  of  the  target  and  permit  a 
division  into  sectors,  selection  of  aiming  points,  preliminary  in- 
struction to  range  estimators,  etc.,  before  arriving  at  the  point 
from  which  the  sketch  is  made. 

ILLUSTRATION  OP  RECONNAISSANCE  REPORTS. 

32.  By  means  of  landscape  sketches  a  patrol  leader  can  render 
his  report  clear,  accurate,  brief,  and  comprehensive. 


8  LANDSCAPE  SKETCHING. 

A  reconnoissance  patrol  may  travel  many  miles  and  discover 
m^ny  items  of  military  importance  in  the  terrain  covered.  Land- 
scape sketches  made  at  happily  chosen  places,  identified  on  his 
route  sketch,  will  reproduce  the  terrain  in  a  familiar  aspect. 
A  few  lines  and  explanatory  remarks  will  convey  graphically 
and  accurately  much  valuable  information  otherwise  difficult  to 
describe.  A  report  of  a  hostile  position  is  of  the  greatest  im- 
portance; the  same  report  illustrated  by  a  sketch  showing 
graphically  the  flanks  and  location  of  the  position  with  refer- 
ence to  the  neighboring  terrain  permits  small  opportunity  for 
error.  Such  a  sketch,  locating  the  hostile  disposition  with 
reference  to  easily  recognized  features  of  the  terrain,  showing 
crest  lines  and  possible  firing  positions,  may  be  made  from  the 
concealment  offered  by  brush,  rocks,  etc. 

The  position  of  the  observer  and  the  direction  illustrated  by 
a  landscape  sketch  are  located  on  the  route  sketch  thus : 


af 


j^         a>4. 


The  number  corresponds  to  that  on  the  landscape  sketch  and 
the  arrow  points  in  the  direction  illustrated. 

A  battle  reconnaissance  patrol  is  sent  out  just  preceding  or 
even  during  an  engagement.  Reports  must  be  brief  but  compre- 
hensive. Panoramic  sketches  made  from  possible  firing  posi- 
tions will  portray  graphically  the  targets  presented  by  the  hostile 
lines. 

OUTPOST   SKETCHES. 

33.  A  landscape  sketch  portraying  the  terrain  in  front  of  an 
outpost  position  presents  a  graphic  picture  to  higher  com- 
manders of  the  country  under  observation.  Sketches  on  which 
the  ranges  and  directions  to  different  points  are  noted  are  of 
great  value  when  this  information  is  transmitted  on  changing 
reliefs. 

RANGE   CARDS. 

34.  Ranges  are  determined  to  various  objects  on  the  terrain 
in  front  of  a  position  prepared  for  defense. 

This  information  is  placed  on  sketches  of  the  terrain,  or  range 
cards.  These  sketches  are  always  graphic  representations  of 
the  object  indicated,  drawn  plainly  to  facilitate  ready  identifi- 
ieation  by  troops  called  upon  to  oppose  the  enemy. 

Range  cards  made  as  landscape  sketches  permit  easy  and  accu- 
rate identification  of  the  ranging  points. 


LANDSCAPE  SKETCHINO.  • 

MARGINAL  DRAWING. 

35.  Small  marginal  drawings  of  fords,  bridges,  forks  in  the 
road,  landmarks,  etc.,  add  immeasurably  to  the  value  of  the 
topographical  sketches  or  maps.  There  is  often  delay  in  identi- 
fying the  road  crossing,  bridge,  ford,  etc.,  on  the  ground  with 
the  map.  This  difficulty  is  eliminated  if  a  small  sketch  of  the 
crossing,  bridge,  etc.,  appears  on  the  margin  of  the  map.  (See 
plate  1.) 

PANORAMIC   OR   LANDSCAPE   SKETCHING. 

Landscape  sketching  presents  the  terrain  as  actually  viewed 
by  the  observer.  Proficiency  is  acquired  by  practice.  Con- 
ventional signs  are  limited  to  those  representing  troops.  Other 
military  data  is  written  on  the  sketch. 

36.  Military  landscape  sketching  requires  a  certain  knowledge 
of  the  general  principles  of  drawing,  including  the  elements  of 
perspective,  which  are  its  foundations.  This  knowledge,  how- 
ever, may  be  acquired  during  actual  practice  while  sketching 
from  nature. 

Military  landscape  sketching  differs  in  important  character- 
istics from  purely  artistic  work.  The  effect  and  harmony  of 
the  sketch  is  entirely  secondary  to  the  delineation  of  the  military 
features  to  be  portrayed.  Accuracy,  simplicity,  the  elimination 
of  details  not  of  military  importance,  a  correct  generalization  of 
the  background,  and,  above  all,  an  easy  comprehension  at  a 
glance,  these  are  the  essentials  of  a  military  landscape  sketch. 

Landscape  sketching  presents  the  country  in  elevation  instead 
of  in  plane.  It  is  not  necessary  to  be  an  artist  to  produce  a 
useful  sketch.  It  is  often  better  that  the  artistic  sense  be 
absent,  and  that  instead  of  idealizing  a  landscape,  it  should  be 
looked  at  with  a  cold,  matter-of-fact  military  eye. 

The  beginner  will  at  first  be  confused  by  the  mass  of  detail 
in  the  landscape  before  him.  He  must  ignore  all  but  the  outline 
of  the  features  presented.  Omit  even  prominent  details  in  the 
immediate  foreground  that  are  not  of  value  in  the  sketch,  such 
as  telegraph  poles,  trees,  etc.  He  must  learn  to  leave  out  unim- 
portant details.  The  fewer  lines  used  the  clearer  the  sketch 
and  the  less  time  required  to  make  it. 

A  diflEiculty  will  be  met  in  drawing  the  houses,  trees,  etc.,  as 

they  are  seen  in  the  landscape.    Absolute  accuracy  in  the  details 

of  their  appearance  is  not  essential.    The  sketcher  first  repro-, 

duces  the  outline  of  the  important  military  points,  as  skyline 

7493°— 17 2 


10 


lANDSCAPE  SKETCHING. 


LANDSCAPE  SKETCHING.  11 

and  crests,  then  fills  in  other  details  with  the  fewest  lines  pos- 
sible. Use  bare  outlines  and  leave  general  shading  alone.  Un- 
necessary shading  in  a  landscape  sketch  tends  to  confuse  and 
distracts  from  its  clearness. 

The  beginner  will  do  well  by  first  copying  other  landscape 
drawings.  By  so  doing  he  will  learn  to  handle  his  pencil  and 
gain  confidence  in  himself.  Then  make  several  sketches  of  the 
same  country  at  different  times.  The  ability  to  sketch  will  come 
with  surprising  facility. 

The  chief  difficulty  experienced  by  the  beginner  is  in  produc- 
ing the  receding  effect  in  his  picture,  the  perspective.  To 
overcome  this,  note  carefully  the  size  of  tl  e  objects.  Looking 
at  the  landscape,  as  objects  are  placed  farther  off,  they  appear 
smaller.    Make  them  so  in  the  drawing. 

The  comparative  dimensions  of  objects  near  and  distant  may 
be  noted  by  holding  a  pencil  at  arm's  length  before  the  eye 
and  defining  the  limits  of  the  object  between  the  thumb  and 
end  of  the  pencil.  Heavy  lines  will  be  used  in  depicting  the 
foreground,  medium  lines  objects  in  the  middle  distance,  and 
the  background  sketched  by  fine  strokes  with  a  hard  pencil. 

A  careful  study  of  the  gi'ound  before  commencing  to  draw 
will  assist  greatly.  Field  glasses  will  define  accidents  and  de- 
tails not  plain  to  the  eye. 

First  draw  the  sky  line,  then  work  toward  the  foreground, 
gradually  thickening  the  strokes.  It  may  be  advantageous  for 
a  beginner  to  use  three  pencils  of  varying  hardness,  as  an  H 
for  the  foreground,  3  H  for  middle  distance,  and  5  H  for  back- 
ground. Commercial  pencils,  Nos.  2  and  3,  pointeil  and  used 
with  care,  produce  the  same  results  and  are  always  available. 
Several  pencils  should  be  carried  pointed  and  ready  for  use. 

To  put  in  woods,  sketch  the  outline  of  the  tree  tops  with  a 
succession  of  short  curves,  then  draw  a  broken  line  to  show  the 
near  edge  of  the  wooils  if  in  relief  and  fill  the  space  between 
with  diagonal  shading.  This  is  the  only  shading  required  in 
the  entire  landscape  sketch,  the  result  being  that  trees  stand 
out  among  other  details. 

It  will  be  noted  that  woods  are  of  great  value  for  indicating 
depressions  and  defiladed  areas.  A  tree  on  a  plain  or  slope 
in  full  view  will  show  a  portion  of  the  trunk.  Trees  partially 
concealed  by  ridges  show  only  the  rounded  top.  Draw  only 
the  silhouette  or  outline  of  the  tree,  do  not  attempt  detail  of 
branches. 


12  LANDSCAPE  SKETCHING. 

All  roads  are  shown  by  two  unbroken  lines  representing  the 
edges  which  get  closer  together  as  the  road  recedes  until  they 
unite  forming  one  line. 

Do  not  show  unimproved  roads  and  trails  by  dotted  lines 
as  on  contoured  sketches ;  use  solid  lines,  and  place  any  explana- 
tory data  in  the  T-section  at  the  top  of  the  paper. 

Draw  only  the  outline  or  silhouette  of  buildings. 

PRACTICE  IN  LANDSCAPE   SKETCHING. 

37.  (a)  A  beginner  in  landscape  sketching  should  first  copy 
some  typical  sketches.  He  will  thus  learn  how  to  handle  his 
pencils,  the  relative  weights  of  the  lines  in  foreground  and 
distance,  and  the  extremely  small  size  of  the  few  conventional 
signs  used  to  represent  troops.  He  will  also  appreciate  the 
importance  of  a  sharp  point  to  his  pencils,  and  keep  several 
always  ready  for  use. 

(&)  The  next  step  should  be  drawing  imaginary  landscapes. 
This  is  excellent  practice.  Skylines  and  intermediate  crests 
can  be  draw^n,  and  troops  of  all  arms  placed  in  position. 

(c)  Select  a  sector  convenient  to  quarters,  and  sketch  the 
same  landscape  at  least  once  a  day  until  the  result  is  satis- 
factory. 

(d)  Select  other  landscapes  for  practice. 

<e)  Allow  10  minutes  for  the  completion  of  a  sketch. 

THE  SCHOOL  OF  MUSKETRY  SKETCHING  PAD. 

38.  A  pad  of  specially  ruled  paper  has  been  designed  for  use 
in  landscape  sketching  at  the  School  of  Musketry.  (See 
plate  2.) 

The  sheets  are  8*  by  54  inches.  Vertical  lines  in  light  blue 
cross  the  paper.  These  vertical  lines  are  of  value  as  guides  in 
dropping  features  of  the  landscape  located  over  the  top  of  the 
paper  dow^n  to  the  sketch  strip. 

The  intercept  between  these  vertical  lines  equals  the  50  mils 
division  of  the  musketry  rule.  A  cord  run  through  the  metal 
eyelet  set  in  the  center  of  the  backing  near  the  top  and  knotted 
at  15  inches  is  used  to  insure  the  paper  being  held  at  the  same 
distance  from  the  eye  each  time  the  pad  is  oriented.  AVith  this 
length  of  cord  the  interval  between  the  vertical  lines  subtends 
50  mils. 


XANDSCAFE  SKETCHING. 


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14  LANDSCAPE  SKETCHING. 

Four  horizontal  lines,  also  in  light  blue,  at  half-inch  intervals 
are  drawn  just  below  the  center  of  the  sheet,  the  four  inclosing 
a  strip  1^  inches  in  width.  This  strip  marks  the  vertical  limits 
of  the  sketch. 

At  the  top  of  the  paper  are  two  heavy  orientation  marks  and 
three  horizontal  black  lines  defining  divisions  marked  for  the 
target,  range,  and  deflection. 

Below  the  picture  strip  on  the  left  is  a  place  for  a  description 
of  the  position  from  which  the  sketch  was  made.  In  the  cen- 
ter is  a  circle  to  contain  the  number  of  the  sketch  and  indicate 
its  position.  By  the  side  of  this  circle  an  arrow  with  one  barb 
is  drawn  to  show  the  magnetic  north.  On  the  right  are  spaces 
for  the  time,  date,  name,  rank,  and  organization  of  the  sketcher. 

MAKING  THE  SKETCH. 

39.  1.  Hold  the  sketching  pad  in  front  of  the  eyes,  facing  the 
sector,  upper  edge  of  paper  horizontal,  the  cord  knot  in  the 
teeth. 

KoTE. — To  use  the  vertical  lines  as  a  mil  scale,  this  distance 
of  15  inches  must  be  accurate.  A  cord  threaded  through  the 
cardboard  backing  and  running  over  the  top  of  the  pad  at  the 
center,  knotted  at  15  inches,  will  insure  this  distance. 

2.  Close  one  eye,  and  move  the  paper  laterally  until  the  sector 
desired  is  included  between'  the  two  orientation  marks.  The 
paper  is,  now  oriented. 

Note. — If  the  sector  desired  is  too  broad  to  be  included  be- 
tween the  orientation  marks,  the  field  may  be  covered  by 
making  two  sketches  or  by  holding  the  pad  closer  to  the  eye.  In 
the  latter  case  the  vertical  lines  will  subtend  more  than  50 
mils,  and  the  deflection  must  be  determined  with  the  musketry 
rule. 

3.  With  the  paper  thus  oriented,  the  points  or  objects  in 
the  sector  are  visible  along  the  upper  edge,  appearing  in  their 
proper  relative  positions,  horizontal  and  vertical. 

4.  With  a  pencil  place  a  mark  near  the  upper  edge  of  the 
paper  opposite  the  most  prominent  points  or  objects  in  the 
sector.  Marked  features  on  the  skyline  are  located  first,  as  they 
aid  materially  in  placing  other  points  in  the  drawing. 

5.  The  lateral  location  of  points  on  the  skyline  being  thus 
determined,  place  the  paper  on  the  knee  or  other  convenient 
support  and  transfer  the  marks  from  the  upper  edge  to  the 
"  sketch  section "  of  the  paper.  Commence  with  the  mark 
opposite  the  highest  point,  which  is  placed  on  the  first  blue  line. 


LANDSCAPE  SKETCHING.  1§ 

This  determines  the  highest  part  of  the  sketch.  The  marks 
locating  other  features  are  transposed  in  their  relative  vertical 
and  horizontal  positions. 

6.  Draw  the  skyline,  lightly,  by  connecting  the  transposed 
marks.    This  will  give  the  horizon  in  profile. 

7.  Other  points,  crests,  targets,  etc.,  are  now  entered  in  the 
same  manner,  reorienting  the  paper  when  necessary.  With  prac- 
tice the  other  features  of  the  landscape  may  be  drawn  in  with- 
out reorientation,  once  the  skyline  has  been  located  on  the  sketch. 

8.  The  immediate  foreground  is  indicated  by  a  very  heavy  line 
above  the  circle.  This  may  be  made  by  using  the  side  of  the 
pencil  point. 

By  this  method  the  lateral  proportions  of  the  sketch  will  be 
fairly  accurate.  The  vertical  should  be  slightly  exaggerated.  No 
effort  need  be  made  to  effect  this,  since  most  sketchers  will  do 
so  unconsciously. 

Relative  vertical  proportions  may  be  determined  with  accu- 
racy by  moving  the  pad  laterally  until  the  highest  point  on  the 
horizon  is  just  visible  past  the  right  edge  of  the  paper.  Hold 
the  uppermost  horizontal  blue  line  on  this  highest  terrain  feature 
and  mark  with  a  pencil  the  points  where  lower  terrain  features 
appear  along  the  edge  of  the  paper.  Transfer  these  elevations 
to  their  proper  places  in  the  sketch. 

In  addition  to  the  skyline,  important  crest  lines  and  other 
features  will  be  sketched  in,  especially  within  the  area  of  ad- 
vance. The  position  of  fences,  roads,  walls,  and  woods  of  pos- 
sible military  value  must  be  included.  Features  of  the  fore- 
ground are  omitted  unless  of  military  importance. 

No  effort  should  be  made  to  obtain  purely  artistic  effect. 

Avoid  detail.  Show  buildings,  woods,  trees,  and  other  features 
only  in  the  outline  of  the  silhouette. 

Shading  is  used  only  in  denoting  woods,  cliffs,  and  embank- 
ments. 

MILITARY  DATA. 

40.  1.  A  reference  point  is  selected  from  the  prominent  ter- 
rain features  of  the  sector.  This  must  be  an  object  easily  recog- 
nized by  another  person  using  the  sketch. 

The  reference  point  is  identified  on  the  sketch  by  a  vertical 
line  drawn  from  near  the  top  of  the  paper,  stopping  just  above 
the  point  or  object.  An  arrow  head  is  drawn  at  the  lower  end 
of  this  line  and  a  zero  (0)  is  bisected  in  the  deflection  (DF) 
section.  Even  when  the  enemy  is  very  distinct  a  reference 
point  is  designated  as  the  enemy  may  move  or  disappear. 


16  LANDSCAPE  SKETCHING. 

2.  In  the  T- section  at  tlie  top  of  the  perpendicular  is  entered 
the  name  or  description  of  the  reference  point  and  all  other 
objects  identified,  including  the  letter  denoting  the  nature  of 
the  target  (I,  A,  C,  MG).  Conventional  names  such  as  "May," 
"  June,"  "  July,"  may  be  assigned  to  important  terrain  features 
in  the  absence  of  known  names. 

When  features  on  the  horizon  or  terrainr  are  beyond  6,000 
yards,  estimate  the  distance  in  miles  and  enter  same  below  the 
name  of  the  feature  in  the  T-section  as — 

Mount  Scott 
11  miles. 

3.  Targets  are  accurately  located  on  the  sheet  by  the  use  of 
conventional  signs. 

In  addition  to  these  conventional  signs,  the  location  is  em- 
phasized by  a  perpendicular  dropped  from  the  "  T  "  line.  At 
the  top  of  this  perpendicular,  the  abbrevation  I.,  C,  A.,  or  M.  G. 
further  indicates  the  nature  of  the  target. 

In  case  the  target  or  position  shown  has  marked  linear  dimen- 
sions, as  infantry  deployed,  a  perpendicular  is  dropped  to  each 
end  of  the  line  occupied. 

4.  Information  concerning  the  target  and  nothing  else  is 
written  vertically  upon  the  sketch  along  the  perpendiculars  in 
the  broad  space  between  the  sketch  and  the  DF^  line. 

For  example,  on  perpendiculars  headed — 

I. 

4  Plat.  col.  advancing. 
Entrenched. 
Column,  moving  east. 

C. 

Led  horses. 
Moving  north. 

A. 

4  guns  in  position. 
Limbered. 

M.  G. 

4  guns  in  position. 
Moving  west. 


LANDSCAPE  SKETCHING. 

6 

6 

t 

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18  LANDSCAPE  SKETCHING. 

The  note  on  the  perpendicular  should  state  the  strength, 
formation,  and  whether  in  position  or  in  motion;  if  the  latter, 
the  direction  taken. 

Give  the  length  of  target  or  enemy  line  in  mils.  This  measure- 
ment should  be  accurate  within  10  mils. 

Do  not  assign  organizations  to  the  enemy,  as  company,  bat- 
talion, troop,  etc.,  unless  positive  this  information  is  correct. 
State  the  arm  and  give  length  of  line  observed  in  mils. 

5.  Range. — Estimated  or  measured,  is  entered  in  the  KN 
space,  across  the  perpendicular  indicating  the  target  or  object. 
The  method  of  determining  the  range  is  written  after  RN — 
"  Estimated  "  or  "  Measured." 

6.  Deflection. — The  deflection  in  mils  from  the  reference  point 
is  determined  either  by  use  of  the  vertical  lines  on  the  pad 
or  by  means  of  a  mil  scale  and  entered  in  the  DF  space  across 
the  perpendicular  indicating  the  target  or  object. 

This  deflection  should  never  be  in  error  more  than  10  mils. 
Place  a  reference  point  on  each  sketch.  Do  not  carry  the  deflec- 
tion across  several  joined  sketches.  The  sketch  containing  the 
first  reference  point  may  be  lost,  and  thus  make  the  others 
valueless.    Each  sketch  must  be  complete  in  itself. 

7.  The  location  of  the  sketcher  is  described  by  using  the 
name  of  the  ridge,  knoll,  etc.,  or  by  giving  the  direction  and 
distance  from  a  known  point,  as — 

"Evans  Knob,"  or 

"Ridge  400  yards  west  of  Apache  Gate." 
This  data  is  entered  in  the  lower  left-hand  corner  of  the 
sketch. 

8.  The  sketches  are  numbered  serially  within  the  circle  at 
the  bottom  of  the  pad.  The  location  and  direction  illustrated 
on  a  route  sketch  are  identified  by  the  corresponding  number 
in  a  circle  with  an  arrow  indicating  the  terrain  sketched. 

9.  The  compass  bearing  is  shown  by  an  arrow  with  one  barb, 
drawn  beside  the  circle.  To  determine  its  direction,  orient 
the  sketch  in  a  horizontal  position  with  the  "vertical"  line 
marking  the  reference  point  pointing  toward  the  reference  point. 
Then  draw  the  arrow  parallel  to  the  compass  needle,  barb 
toward  the  north. 

10.  The  time,  date,  and  signature  entered  on  right  of  the 
circle  completes  the  sketch. 

Note. — Distance  of  pad  from  the  eye. — The  pad  designed  for 
use  at  the  School  of  Musketry  is  ruled  with  vertical  lines  sub- 


LANDSCAPE  SKETCHING.  19 

tending  50  mils  when  held  15  inches  from  the  eye.  This  interval 
was  selected  as  a  matter  of  convenience  to  the  student,  conform- 
ing to  the  divisions  of  the  musketry  rule. 

If  preferred,  the  paper  can  be  oriented  by  holding  the  sheet 
about  12  inches  from  the  eye  and  by  moving  the  paper  back 
and  forth  until  the  orientation  marks  coincide  with  two  selected 
terrain  features  preferably  on  the  sky  line.  In  this  case  tlie 
deflection  in  mils  must  be  determined  by  use  of  a  mil  scale, 
and  the  vertical  spacing  on  the  paper  be  ignored  when  enter- 
ing deflections  from  the  reference  point.  The  value  of  the 
intervals  in  mils  (50)  is  correct  only  when  the  pad  is  held 
at  the  proper  distance  from  the  eye  (15  inches). 

In  making  a  hasty  sketch  on  any  paper  at  hand,  the  deflec- 
tion in  mils  is  ascertained  with  a  mil  scale,  or  approximated 
by  using  the  gun  sight,  fingers,  or  the  trigger  guard  of  a  pistol. 
In  infantry  and  machine-gun  companies  and  battalions,  the  fol- 
lowing individuals  should  provide  themselves  with  a  mil  scale 
as  part  of  their  field  equipment : 
(a)  Battalion  commanders. 
(6)  Adjutants  and  reconnaissance  ofllcers. 

(c)  Company  commanders. 

(d)  Leaders  of  platoons,  sections,  and  squads. 

(e)  Seconds  in  command  and  platoon  guides. 
(/)   Scouts  and  agents  of  communication. 

Also,  any  other  individual  who  aspires  to  any  of  the  positions 
above  enumerated,  should  provide  himself  with  a  mil  scale  and 
seek  to  perfect  himself  in  its  use. 

JOINING  SKETCHES. 

41.  Several  sketches  will  often  be  made  from  one  position 
for  the  purpose  of  showing  more  terrain  than  can  be  included 
on  one  sketch. 

Whenever  two  sketches  are  to  be  joined,  the  same  terrain 
feature  must  appear  on  each — near  the  left  edge  of  one  and 
the  right  edge  of  the  other.  The  procedure  is  as  follows,  when 
given  a  terrain  too  wide  to  be  included  in  one  sketch : 

Make  a  complete  sketch,  including  the  terrain  from  the  left, 
for  example,  as  far  as  the  paper  will  permit  toward  the  right, 
noting  an  object  approximately  beneath  the  right  orientation 
mark  and  preferably  on  the  sky  line.  The  next  sketch  will 
commence  with  its  left  orientation  mark  over  the  feature  noted 


20  LANDSCAPE  SKETCHING. 

on  the  right  of  the  preceding  sketch,  this  feature  appearing  on 
both  sketches.  This  repeating  of  a  feature  on  two  adjacent 
slvetches  is  continued  until  the  required  sector  of  terrain  is 
covered  up  to  a  complete  panorama  of  360°. 

A  series  of  seven  sketches  may  be  made,  for  example,  from 
one  position,  giving  a  panorama  of  180°.  If  this  panorama  ex- 
tends from  the  east  through  the  north  to  the  west,  the  arrow  on 
the  first  sketch  indicating  the  magnetic  bearing  will  lie  parallel 
to  the  bottom  of  the  paper  pointing  to  the  observer's  left,  the 
arrow  on  the  fourth  sketch  (looking  north)  will  lie  at  right 
angles  to  the  lower  edge  of  the  paper,  pointing  toward  the  top. 
and  the  arrow  of  the  last  sketch  (looking  west)  will  lie  parallel 
to  the  lower  edge  of  the  paper,  pointing  to  the  observer's  right. 
The  arrows  of  the  second  and  third  sketches  will  occupy  inter- 
mediate positions  with  reference  to  the  lower  edge  of  the  paper 
between  those  of  the  first  and  fourth  sketches,  and  the  arrows 
of  the  fifth  and  sixth  sketches  intermediate  positions  between 
the  fourth  and  seventh.     ( See  plate  4. ) 

In  assembling  to  form  a  panorama  the  sketches  are  placed 
in  order  on  a  flat  surface  with  all  the  arrows  parallel.  In  the 
above  example,  a  panorama  extending  through  180°,  the  sketches 
form  a  semicircle.     (See  plate  4.) 

In  "joining"  two  adjacent  sketches,  the  corner  of  the  right 
sketch  (for  example),  folded  under  in  a  line  through  the  center 
of  the  common  feature.  (The  fold  usually  strikes  the  lower 
edge  of  the  paper  about  an  inch  from  the  corner  and  the  right 
edge  about  one-half  inch  from  the  top.)  Place  the  folded  sketch 
over  the  other,  so  that  half  the  common  feature  will  be  visible 
on  each  sketch,  and  with  this  common  feature  as  a  pivot  turn 
the  right  sketch  until  the  arrows  of  both  sketches  are  parallel. 
Tlie  crests  and  other  features  of  the  two  sketches  should  meet 
approximately  along  the  edge  of  the  fold.  The  section  of  the 
right  sketch  folded  under  will  depict  the  identical  terrain  it 
covers  on  the  left  sketch.     ( See  plate  5. ) 

As  landscape  sketches  are  made  rapidly  and  with  a  free  hand, 
some  adjustment  of  data  will  usually  be  necessary  to  secure  un- 
broken lines  where  the  sketches  meet.  The  joining  should  be 
checked  on  the  ground  and  corrections  made  without  hesitation. 

When  several  joined  sketches  are  necessary  to  show  the 
location  of  related  targets,  each  sketch  should  be  complete  in 
itself  with  reference  points,  deflections,  etc. 


LANDSCAPE  SKETCHING. 


81 


at 


LANDSCAPE  SEETCHIIia. 

1 


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1st  Step  in  Joining.  Two  aketchSB 
showing  same  terrain  feature  near 
adjacent  edges. 


n    nr 


^© 


2nd  Step  in  joining.  Corner  of  siietch 
on  right  folded  through  center  of 
reservoir  hill  preparatory  to  placlflj; 
over  eketch  on  left. 


Srd  Step  m  Joining. 
2  Sketches  Joined.  Pivoted 
on  conmon  point,  arrowg  parallel. 
F>.ASE  a. 


LANDSCAPE  SKETCHING.  SS 

The  sketches  will  be  joined  as  chords  of  a  circle  and  not  arcs. 
This  is  because  the  successive  sketches  are  drawn  on  flat  sur- 
faces and  between  straight  horizontal  lines.  A  panorama  will 
therefore  consist  of  a  series  of  sketches  joined  by  slight  angles. 
This  will  be  found  to  interfere  little  with  the  accurate  repre- 
sentation of  the  terrain. 

In  the  following  pages  plates  6  to  11,  both  inclusive,  illus- 
trate the  manner  of  depicting  various  features,  such  as  skylines, 
roads,  woods,  pole  lines,  fences,  railroads,  buildings,  and 
villages.    Plates  12  to  18  are  illustrative  of  finished  sketches. 

MECHANICAL  AIDS   TO   LANDSCAPE   SKETCHING. 

42.  There  are  several  other  methods  used  in  the  instruction 
of  beginners  in  landscape  sketching.  Many  of  these  require 
special  apparatus  not  always  available  for  use  in  the  field. 

One  system  requires  a  frame  bearing  a  number  of  vertical 
and  horizontal  cross  wires  which  is  placed  in  the  ground  at 
such  a  distance  before  the  eye  as  to  intercept  the  sector  to  be 
sketched.  The  paper  used  is  ruled  in  rectangles  corresponding 
exactly  to  those  intercepted  by  the  wires  of  the  frame.  This 
method  is  accurate  but  in  practice  has  been  found  to  develop  a 
tendency  toward  filling  in  each  rectangle  with  minute  details. 
This  results  in  slow,  painstaking  work  instead  of  the  rapid  free- 
liand  sketching  essential  in  reconnaissance. 

Another  method  of  use  in  learning  to  sketch  is  the  follow- 
ing: A  piece  of  wire  gauze  of  mesh  large  enough  to  admit  the 
point  of  a  pencil  is  cut  exactly  the  size  of  the  paper  used.  To 
locate  the  critical  points  of  the  landscape  on  the  paper,  hold 
the  gauze  out  before  the  eye,  orienting  it  on  the  main  reference 
point  or  other  selected  features  of  the  landscape.  Place  the 
pencil  point  in  the  gauze  at  the  feature  to  be  recorded,  lay  the 
gauze  on  the  paper,  thus  locating  this  point.  Do  the  same  for 
the  other  prominent  features  of  the  terrain.  It  will  be  found 
advisable  to  locate  the  points  along  the  skyline  and  complete 
this  portion  of  the  sketch  first.  Then  locate  and  sketch  In  the 
features  of  the  middle  and  foreground.  The  gauze  must  be 
carefully  oriented  every  time  a  point  is  located  for  transfer  to 
the  paper.  For  this  purpose  permanent  orientation  marks 
should  be  placed  on  the  gauze.  A  string  attached  to  the  center 
and  held  in  the  teeth  will  help  in  reorientation.  This  method 
will  be  of  assistance  to  men  who  find  difliculty  in  transferring 
points  from  the  upper  edge  of  the  paper  to  the  proper  place 


24  LANDSCAPE  SKETCHING. 

in  the  sketch.  The  principle  is  very  simple,  and  the  result 
should  be  an  accurate  sketch.  This  scheme  does  not  demand 
specially  ruled  paper  and  no  apparatus  beyond  the  gauze. 

These  two  methods  are  mentioned  as  of  possible  interest  to 
encourage  men  who  find  landscape  sketching  difficult  at  first. 
Tlie  confidence  engendered  by  the  results  attained  from  the 
use  of  these  or  similar  aids  to  sketching  will  soon  enable  a  man 
to  draw  with  no  assistance  other  than  pad,  pencil,  and  eye.  Any 
method  is  satisfactory  that  will  produce  results. 

The  system  of  landscape  sketching  described  in  detail  in 
this  pamphlet  has  been  carefully  considered  and  tested.  It  is 
believed  that  little  difficulty  will  be  encountered  in  its  use. 
The  pads  prepared  for  use  in  this  work  at  the  School  of  Mus- 
ketry are  designed  for  men  first  attempting  this  important 
and  heretofore  neglected  item  in  the  military  education  of  the 
professional  soldier. 


LANDSCAPE  SKETCHING. 


26 


LANDSCAPE  SKETCHINa. 


LANDSCAPE  SKETCHING. 


ftt 


28 


LANDSCAPE  SKETCHING^ 


XANDSCAPE  SKETCHINQ. 


80 


lANDSCAPE  SKETCHING. 


lANDSCAPE  SKETCHING. 


81 


92 


LANDSCAPE  SKETCHING. 


LANDSCAPE  SKETCHING. 


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LANDSCAPE  SKETCHING. 


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